Events at the end of the pandemic
By mid-February I’d read so many contradictory reports and surveys about how to resume live events and concerts that I’d begun to doubt if we’d ever be able to open a venue again.
An example of the conflict is summed up in two German studies – one claimed that the transmission risk at indoor concerts was negligible, provided that good ventilation, social distancing and face masks were in use
At the same time the Germans were celebrating this ‘win’, another report suggested that the risk of aerosol spread was reckoned to be higher if you sing in certain languages, like, er, German.
Promoters and venues were already well aware that the risk factors are hugely dependent on a number of issues, from type of venue to genre/style of show. A seated, socially distanced performance in an airy, high-ceilinged hall would be entirely different to a standing gig in a sweaty basement. The trouble was that governments and licensing bodies were insistent upon treating everything the same.
So, whilst we could have some hope that cultural events were safer than schools there was little public clamour to test that proposition. Yet in the UK, after months of barely acknowledging that the sector exists, we were finally given a glimmer of hope and, astonishingly, actual dates. It looked like a plan, which was astounding for all those who had been asking for evidence of one since before Christmas.
Naturally the dates came with caveats, but they were enough for some festivals to go on-sale and sell out, almost before the PM had stopped speaking. The following week produced future amazement as industry experts like the Music Venue Trust noted that the plan looked to be based on data rather than guesswork. The predicted roll out of the vaccine and continuing expected fall in infection rates make these dates likely to become a reality.
Whilst I see few people clamouring to hit the May deadline for restricted capacities, July and beyond look like reasonable expectations. The industry will have its own caveats of course, the most notable being insurance. Where EU governments and some others have stepped into the void where commercial firms fear not tread, UK authorities are more tight-lipped. Perhaps the upcoming budget will give us a better steer, but I fear the chancellor is keener to tighten the purse strings than keep the coffers open.
Talent may be another thorny issue in 2021. The UK may relax but that possibility seems unlikely across Europe. If you’re an international artist and dependent on the economies of scale that multiple shows offer, flying in for one or two UK shows might not cut it. That’s if you’re even able to escape your own country’s restrictions.
On that basis the future looks more optimistic, as long as you like British artists. Frankly, since everyone seems to be straining at the leash to be released, this looks to be less of an issue than it normally would be. New UK acts may thrive on those festival slots that may previously not have been available and, as Brexit & Covid restrict their ambitions, popularity may well have to start at home. Bring it on.